The Dynamo MKIII is now available on special order optimized for 300B output tubes instead of the EL 34 which is still standard. The Dynamo MKIII will now exhibit all the finest sonic qualities of single ended triode 300B output. Compared to the Dynamo SE34, power output remains the same. Gain is slightly lower which is especially well suited for high sensitivity loudspeakers. The new Dynamo SE 300B MK III will easily exceed the performance of comparable SET amplifiers costing many times its reasonable selling price. For those wanting to buy the M300B Frankenstein amps, but require something more compact in a single chassis with a state of the art headphone amp and a line stage with 2 inputs, at a more affordable price, the new Dynamo 300B is impossible to equal.

Announcing the Dynamo SE 34 MK III

After the overwhelming success of the Coincident Dynamo 34SE MK II amplifier (
Editor’s Choice TAS, Blue Note Award by enjoythemusic.com , Positive Feedback ) we
are excited to announce the Dynamo SE 34 MK III. The MK III contains a whole host of
significant upgrades that not only enhance performance but dramatically improves
reliability, virtually eliminates noise, hum and susceptibility to AC line variation and
fluctuation. The end result is taking the already breakthrough performance and build
quality of the finest value amplifier in existence and elevating it to a new level
of excellence in every parameter. The most noteworthy change offered by the MK III, is the
introduction of 2 inputs selectable from the front panel.
The improvements include the following:

1. Power Supply - The power transformer has been enlarged by 50%. Much improved
insulation and winding techniques result in noiseless operation, and a 40% reduction in
generated heat levels.
Filtering and energy storage has been increased by a whopping 70%. The sonic
improvement is substantial- deeper, more impactful lower frequencies, wider
and the ability to drive a much wider range of speakers without strain. Distortion levels
at high SPLs and low frequencies has been reduced by 35%. Furthermore, the large
power supply has now been isolated from the sensitive input circuitry resulting in the
elimination of electromagnetic interference.

2. Chassis - Not only is the chassis 20% larger in order to accommodate the huge new
power transformer, it has been stiffened and braced to reduce unwanted resonances.
Sonically this translates to greater purity and transparency. The Dynamo has gone from
weighing 22 lbs to 30 lbs.

3. Capacitors - Every single capacitor has been doubled in voltage capacity which
provides bullet proof reliability and eliminates potential problems in areas afflicted with
high AC line voltage that is prone to surging and/ or fluctuation.

4. Tube Rectifier - The previously used instant on 5U4GB rectifier tube has been
replaced with the soft start 5AR4. This provides a safeguard against excessive inrush
current upon turn on.

5. Two Inputs - The MK III has now been transformed into a stereo integrated
amplifier. Toggle switch selectable on the front panel are the 2 inputs.

The overall improvement wrought by the MK. III is highly significant. From virtually
eliminating noise so that the Dynamo can successfully be used with ultra high sensitivity
speakers and increasing its power capabilities so that it can mate with a wider range of
lower sensitivity speakers to unshakeable reliability in any environment to stunning
performance enhancements that include deeper, punchier bass, greater transparency
and purity overall, more expansive soundstage and greater extension and air in the
treble all combine to create an amplifier that while is hard to surpass at $5000, is
unmatched at its value laden price of only $1799 US. While the Dynamo 34SE MKII at
$1499 US was considered the finest value in all of high end audio, all the huge and
costly improvements incorporated in the MK. III with only a $300 increase in price, make
the even more of an audiophile bargain.

For those on a budget but who still demand top flight sonics and build quality, the
Dynamo will prove to be a revelation. Single ended triode tube sound that belies its 8
watt power rating. Any 86 db sensitivity speaker can be powered with startling clarity
and dynamics. Build quality not seen at twice the price. Perfect for those who want a
simple compact set up or as a second system where true musicality is insisted upon.
Hard to believe that this much performance and quality can be had for under $1800 US.
Volume control and 2 inputs front panel selectable turns the MKIII into a stereo
integrated amplifier obviating the need for a line stage and includes a highest
performance headphone amp with phono jack conveniently located on front panel.

Coincident Pure Reference Extreme Mk. II Speakers

By Arthur Salvatore - High End Audio

Introduction

The (2017) Mk. II update of the Coincident Pure Reference Extreme (PRE) speakers is a serious and important improvement over the original model (which I've owned for almost a decade). In fact, the overall extent, scale and scope of the sonic improvements, provided by the Mk. II, are unusually large, and hence requires more than just a simple and cursory description.

Accordingly, the review/essay of the PRE MK. II below is my best attempt to provide a thorough, useful and relevant perspective of these new models for both an original PRE owner, and for all current loudspeaker enthusiasts as well.

My History with the Pure Reference Extremes

The "original" Pure Reference (a single enclosure, now long discontinued) joined my system in late 2007. The "Extreme" (two enclosure) version of the Pure Reference, which I had incessantly lobbied for, replaced the original model in late 2009.

Later on, in Spring 2010, I "doubled up" the Extremes, by stacking a second pair of the PRE on top of the first pair. Finally, in Spring 2017, I added a pair of Acapella ION Super Tweeters. Each of these three changes, all of which provided serious sonic benefits, are well documented, described and discussed in my PRE essay linked below.

All during the 8 years of the PRE's existance (2009-17), a number of minor changes were made to the speakers. However, none of these changes were truly significant enough, even cumulatively, to actually cause a change to the model designation. Finally though, in Fall 2017, it happened. Coincident made an announcement that a new version of the (two-enclosure) Extreme was now available. It was designated by the manufacturer as the PRE "MK. II". For all the important details of my history with the PRE...

Here is a direct link to My Comprehensive Essay/Review of the Coincident Pure Reference Extreme Speakers. I highly advise reading at least part of this earlier essay to fully understand and appreciate this current review, which is (or will be), in reality, just an (important) "Addendum" to the original essay/review. (Example; The original PRE review discusses my entire personal loudspeaker history, going back to 1972, amongst many other subjects and issues addressed about speakers etc.)

2019 TAS Editors' Choice Awards

Coincident M300B Frankenstein MKII Amplifiers

Editors ChoiceThe Absolute Sound

Dynamo Mk II

Editors ChoiceThe Absolute Sound

Coincident Turbo 845SE Mono Amplifiers

25th Anniversary Limited Edition

Coincident is thrilled to introduce a special, once
in a lifetime audio component of unparalleled design, build
quality and sonic performance. The Turbo 845SE - 25th
Anniversary Limited Edition Amplifier is a celebration of the 25
years since Coincident was established. The Turbo 845SE is the
culmination of more than 2 decades of painstaking research and
development into all amplifier technologies and modes of
operation. The goal - create the most transparent amplifier
whose flaws are so negligible as to be essentially indiscernible
and simultaneously be capable of driving virtually all high
performing speakers. The result was single ended operation,
using directly heated triode tubes- maximizing harmonic
completeness, revelation of low level detail- coupled with power
delivery that would not compromise real world dynamics, low bass
extension nor diminish the impact, weight and authority
experienced in a live music environment. These amplifiers were
created with absolutely no holds barred, to be state of the art
with no regard to cost. The Turbo 845SE Monos represent a
breakthrough in amplifier performance. The Turbo 845SE Monos,
remarkably, as all Coincident components, also represent the
finest value in all of high end audio.

The Turbo Monos will be a limited edition restricted
to the sale of 25 pairs. Once they are gone, there will not be
any further offered for sale. They are destined to become a
collector’s classic.

All meticulously hard wired using the breakthrough
Coincident Statement cable

Due to the impeccable hand crafting, finest state of
the art
components, and massive power supply energy storage, (975
Joules), the Turbo Monos are not only the most accurate,
transparent, harmonically complete, and full range SET tube
amplifiers, they are fully capable of driving virtually any
speakers of 84 db sensitivity or more to concert hall levels
with ease. While rated at 28 watts RMS, peak levels of 100 watts
is available with virtually no distortion or
compression.

The Frankenstein MK III are even more transparent, with extended frequency range, enhanced dynamics, punchier, tighter bass and are absolutely dead
silent.Perfect match with ultra high sensitivity speakers ( 100db or higher) due to the total absence of residual noise.

The M300B Frankenstein MK III mono amplifiers are now in stock. Built to the absolute highest standard -

These amps represent a sonic breakthrough. Their transparency and absence of an electronic sound set new standards. Mated to the appropriate speakers,
they will prove to be a revelation. They easily drive every Coincident speaker model.

Coincident Dynamo 34SE MKII SET Amplifier

The first hint that I wasn't getting the best out of the 12 Ohm, 93dB efficient Triode Masters was when I replaced my 80-150-wpc solid-state amps with the amazing 8-wpc Coincident Dynamo 34SE MkII SET amp.
I can't officially give the Dynamo an award as I didn't review it, just purchased it based on a friend's raves. Adding the Statement power cord on Coincident honcho Israel Blume's recommendation upped the
performance so markedly I bought another cord for the Oppo 205. Which led me to buy one of their interconnects, each cable easily bettering what I had carefully and happily matched to the solid state
amp/metal driver speakers in my previous rooms.

As of Sept.15/18, Coincident is introducing the new and improved MK.II version of the world renowned and award winning Statement Line Stage. The improvements include:

- Upgraded volume potentiometers;

- Improved volume transformers;

- Higher energy storage power supply capacitors;

- Coincident Statement internal wiring.

The result is bullet proof reliability coupled with enhanced transparency, dynamic gradations and greater low level detail retrieval.
New Price : $5999 US. ( the first price increase since the Statement was introduced 10 years ago. )

Coincident Speaker Technology

Dynamo 34SE MK II Power Amplifier

Little Amp, Big Sound

By Dick Olsher, The Absolute Sound

Since my initial review of the Dynamo 34SE in 2015, the amp has
undergone several significant revisions. On balance, the Mk. II
version of this low-cost SET amp ($1495, 8Wpc) should be thought
of as nothing less than a Dynamo on steroids. For starters, it
has put on some weight, tipping the scales at 30 pounds, an
eight-pound increase from the original, due mostly to the
beefed-up power transformer. The chassis has been upsized and
properly braced to reduce resonances. The 5U4G rectifier is
gone, replaced by a 5AR4, which by virtue of its indirectly
heated filament provides for a gentle high-voltage start up.
This is a good thing, and I'm happy to report that, unlike my
experience with the 5U4G, the 5AR4 worked flawlessly. Power
supply filter capacity has been increased by 70% and capacitor
voltage ratings have been doubled for increased reliability. you
get all this for only a $200 increase in retail price- now
that's something worth writing about.

April 2018

Passive Versus Active Preamplifiers

Article By Israel Blume
President, Coincident Speaker Technology

Passive Preamplifier

In essence is merely a volume control designed to attenuate the signal going from the source (usually a CD player)
to the amplifier. Since it is passive, it has no inherent gain because it has no active components (tubes or transistors)
in the signal path.
The quality (sonic purity) will be largely dependent on the volume potentiometer used. The finest discrete resistor pots will sound
more accurate than a variable one, for example, since the signal travels through only one resistor at any given setting
and is therefore not dependent on volume position as is the case with a variable pot. Many believe that transformer volume controls can be superior to
even the best discrete resistor pots, since the TVC is inherently passive while the latter still requires the audio signal to traverse a resistor.
The TVC is more costly to properly implement since the best transformers are very expensive.

BAM!

Coincident Dynamite Speakers

New ideas. It’s what keeps the audio world fresh and interesting to hobbyists, not to mention various forum threads entertaining. With speakers, due to the limited parts, new designs are few and far between. Fortunately, I’ve been able to spend time listening to a truly unique cabinet design, the Coincident Dynamite.

In audio circles, Coincident founder Israel Blume is known to be driven, to say the least when it comes to cabinet design. Standing waves and resonances are his enemy. Over the years, each of his designs have attacked and cornered the duel evils based on his patented approach. The resonances are tuned to a neutral 350hz, whereby physics kicks in and the heat created is dissipated. For the listener, it boils down to music free of artificial frequencies.

To deny those pesky axial, tangential, and oblique standing waves some serious engineering design is needed. In accomplishing this, Blume earned a patent for “asymmetrical wall enclosure”. Putting it simply, its way more involved than just using MDF and attaching a few braces. It requires eliminating out of phase waves, a skill akin to threading the needle while off road driving in the Rockies.

Of course the Dynamite takes that challenge to a whole new level with its wave cabin shape. By using a CNC woodcutting machine on glued MDF boards, the exterior waves are created. Thru computer modeling the exact bracing for strength and sonic wave elimination are put in place. In order to meet the $2,999/pair price the CNC work is done outside North America. Everything else in the assembly process takes place in Ontario, Canada.

Coincident is excited to announce that 8 years after its introduction, the Pure Reference Extremes are
undergoing an update of significant proportions. The improvements include the following:

All drivers and crossovers will be internally wired with our state of the art Statement cabling;

The tweeter and midrange drivers will be improved to the latest versions of the Accuton ceramic
units;

The crossovers will be updated and improved with superior components with some parameters being
slightly adjusted.

The sonic results include: greater sense of transparency and immediacy, more extension and air in the upper frequencies, more harmonic completeness in the mids, greater revelation of low level detail and ambient information, and enhancement of visceral punch and impact in the mid bass and bass and seamless coherency from top to bottom.

Although considered by many as the finest speaker available at any price and without question at its selling price, the latest version of the Pure Reference Extreme now advances to a new level of performance.

While the cost of the mods are substantial, the price increase will be offered on an introductory basis at only $1000 more per pair - $29, 499 US /pr.

The Coincident Dynamo SE 34Mk. II

The Most Fun 8 Watts Per Channel You'll Ever Hear!

Review By Jeff Dorgay

There is a coherence to the single ended triode design that is tough to ignore. Passing the signal
through a single triode in the output stage has a grain free purity that will have you converted in no
time at all.

Critics around the world raved about the original version of this amplifier (Priced at $1,295) and though
I haven't had any personal time with the original, every other Coincident product I've auditioned or
owned has been a top of class product. The current Mk. II version is now $1,495, and has had nearly
every component beefed up. Bigger transformers, bigger capacitors, more power supply capacity, etc.,
etc.

And the chassis is beautiful. As Coincident's owner Israel Blume comments, "While far more costly
than chromed steel, stainless steel is non-magnetic, eliminating hysteresis distortion and the mirror
finish is permanent = unlike chrome, which is prone to pitting and eventual peeling." This is not
only a component you want to put front and center ? proudly, it?s a component you will probably hand
down to a family member.

Heading straight for the female vocal tracks, Anja Garbarek's Smiling and Waving proves a revelation,
with Ms. Garbarek's voice materializing between the two Coincident Dynamite speakers that have been sent
along to review. My other favorites, Ella Fitzgerald, Shelby Lynne and Anne Bisson all seem to just walk
out from inside the speakers in such an effortless, grain free, natural way. Even though they have a
sensitivity rating of 90db/1-watt, the Mk. II drives them with authority.

It feels more like a 20 or 30 wpc amplifier, and my old Dynaco Stereo 70 (30wpc on a good day) runs out
of steam quicker than this 8-watt per channel wonder. It?s amazing what solid vacuum designs coupled
with modern manufacturing can produce.

2017 TAS Editors' Choice Awards

World Premiere Review!

Classy styling and sophisticated sound for
passionate music lovers.
Review By Rick Becker

Coincident Speaker Technology

Dynamite Floorstanding Speaker

It's no secret that interior design has been trending modern for quite some time now. The trend was
originally labeled "transitional", a blend between contemporary and traditional that remains popular
with Boomers and Gen X. But "modern", in the flashback of "Mid-Century Modern" has caught the fancy of
anyone younger than that. In furniture, there is a strong minimalist theme to Mid-Century Modern, but in
a lot of other categories (think: cars and cutting edge hair styles) there is a lot of swoopiness
happening, and in clothing and personal accessories (think: watches and jewelry) there is a lot of bling
being bought. I suspect a lot of this is due to the homogenization of global cultures brought on by the
smart phone with its built-in camera and internet access. Almost everything can be seen by almost
everybody. And a lot of those "everybodies" aspire to what the wealthy have, as unbridled capitalism
threatens to enslave even the most powerful of national governments.

World Premiere!

A gateway product to high-end tube gear.
Review By Rick Becker

Coincident Speaker Technology

Dynamo 34SE MK II

Oh geez, not another Coincident review by Rick Becker? Well, yes,
and for good reason in this instance. The original Dynamo 34SE
was my go-to amp for the $5000 Entry Level Project back in
August of 2014 and I eagerly snapped up the review sample for my
personal low power reference and headphone amplifier. My review
today of the Coincident Speaker Technology Dynamo 34SE MK II is
to find out what improvements have been made. Getting back to
the original, it was an outstanding performer with efficient
speakers and a very high value at $1299. Here was an opportunity
for a direct comparison review between that amp and the new
Coincident Speaker Technology Dynamo 34SE MK II.

The Coincident Statement linestage delivers performance so far
beyond what you'd ever expect from a $5,495 box, all audiophile
clichés are rendered irrelevant. Tightly focused in nature, the
Statement delivers high performance and is beautifully packaged
in polished stainless steel.

With two inputs and two outputs each (switchable between RCA and
XLR), control flexibility is limited. But seriously, how many of
you have more than a DAC/ streamer and a phonostage anyway? If
you can get by with this and forgo the flexibility of a remote
control, the Statement delivers sheer performance that a lot of
$20,000 preamplifiers don't.

This two-tube marvel, with a massive 42 pound external power
supply, renders a musical picture that is dynamic, tonally
gorgeous and quiet. With replacement 101- D tubes only costing
$200/pair (a pair of premium, matched 101-Ds more, at $700/pair)
and a claimed life of 5,000 - 10,000 hours, this one won't break
you when it's time to retube.

The Statement is as good as it gets and after 12 years of
reviews, we'd put it right at the top of what is possible in
preamplifiers at any price. That you can get one straight from
Coincident for $5,495 is the high end audio bargain of a
lifetime.

The Coincident Statement Linestage

Nothing but Performance

As the grungy lead guitar riff of the Drive-By Truckers' latest
album American Band fills the room, it's clear that the
Coincident Statement Linestage is a cut above. Way above what
you'd expect from a $5,499 line stage. In some circles, you
can't even buy a power cord for five grand, let alone a line
stage that holds its own with some of the world's finest by the
known brands. Gorgeously shiny, this two chassis masterpiece
from Canada is just as stunning as the Statement Phonostage we
reviewed a few years ago. Coincident's founder, Israel Blume,
makes it a point to tell me that the chassis is not chrome
plated, but high grade stainless steel, highly polished, which
has multiple benefits. "The polished stainless is much more
labor intensive, and unlike chrome plating, will never pit or
peel. And, the non-magnetic nature of stainless steel provides a
significant sonic benefit by eliminating any electromagnetic
interaction with the transformers and audio circuitry." After
many hours of listening, it only gets better.

Coincident Speaker Technology

Dynamo 34SE

The Absolute Sound - Buyers Guide 2017 - Issue 267

The swanky Dynamo isn't your
typical 8Wpc single-ended triode (SET) design. There is no 300B
triode in sight. A 6SL7 dual-triode drives a triode-connected
EL34 output stage. There is no global feedback and the power
supply is tube-rectified. The 5U4G rectifier arc'd briefly on
DO's sample when the amplifier was powered up. Coincident considers
this to be a normal event, but any arc'ing is cause for concern
when it comes to the rectifier's lifetime. The input signal is
routed through a 100k-ohm pot allowing a direct connection to an
external line-level-source. Expect a sweet midrange, an
exceptionally dimensional soundstage, and a dynamic presentation
belying the amp's miniscule power rating-at least when driving a
high-sensitivity loudspeaker. Harmony textures aren't overly
liquid, implying decent-bandwidth output transformers. Treble
textures can be improved via judicious tube rolling. Here is an
amp that shouldn't be defined on the basis of it's cost. It
captures much of the magic of SETs at an entry-level price
point. Because of its high source impedance the Dynamo may not
always yield the most accurate tonal balance, but the crux of
the matter is foot-tapping musical bliss. coincidentspeaker.com
(250)

Dynamite

Coincident is very excited to announce the introduction of the
Dynamite loudspeaker. This represents the initial foray for
Coincident into the realm of floor standing, full range, high end
speakers at a decidedly mid fi price. In keeping with the philosophy
that began with the release of the Dynamo 34SE amplifier, the
Dynamite loudspeaker offers build quality, design, aesthetics and
performance that was previously not possible at this price point.
The combination of the Dynamite and the Dynamo yields high end sound
at an unbelievably affordable price.

The Dynamite is capable of reproducing all types of music, in a
manner that will satisfy the demands of the most seasoned listener.
Its compact footprint makes it an ideal speaker for those with
limited space and yet it is fully adept at filling a spacious
listening environment. Due to its high sensitivity and wide power
handling capabilities, amplifier choice is a personal one. Single
ended triode tube amps fully realize their inherent sonic advantage
mated to the Dynamite and those with a preference for higher power
tube or solid state amps will be equally enamoured by the
results.

The same design approach and philosophy of enclosure materials,
crossovers and driver choice apply to the Dynamite as it does to the
vastly more expensive Coincident models. The breakthrough price to
performance ratio has become possible due to high volume and
efficient production, off shore cabinet construction, direct to
consumer pricing and the lowest mark up structure in high end
audio.

2016 TAS Editors' Choice Awards

Dynamo 34SE

Editors ChoiceThe Absolute Sound

The Dynamo offers an alternative to the traditional 300B-based single-ended-triode amplifier, using, as
it does, a triod-connected EL34 pentode.Driving a high-sensitivity, high-impedance loudspeaker
(96dB/8-ohm minimum), it is capable of an explosive first watt. Superlative soundstage transparency
combined with 3-D image outlines produce a strong sensation of being there.

M300B Frankenstein MK II

Editors ChoiceThe Absolute Sound

One of the best-sounding 300B SET apms DO has auditioned, Israel Blume's Frankenstein IIs deliver on the
promise of SETs: a midrange to die for, wonderful tonal color saturation, and spectacular imaging. In
short, a sensational first watt! Its combination of affordability and performance makes for a screaming
buy reccomendation with the right speakers.

Dynamo 34SE MK II Amplifier

After the overwhelming success of the Coincident Dynamo 34SE amplifier ( Editor’s Choice TAS, Blue
Note Award by enjoythemusic.com ) we are excited to announce the Dynamo SE 34 MK II. The MK II contains
a whole host of significant upgrades that not only enhance performance but dramatically improves
reliability, virtually eliminates noise, hum and susceptibility to AC line variation and fluctuation.
The end result is taking the already breakthrough performance and build quality of the finest value
amplifier in existence and elevating it to a new level of excellence in every parameter. The
improvements include the following:

1. Power Supply - The power transformer has been enlarged by 50%. Much improved
insulation and winding techniques result in noiseless operation, and a 40% reduction in generated heat
levels.
Filtering and energy storage has been increased by a whopping 70%. The sonic improvement is substantial-
deeper, more impactful lower frequencies, wider dynamics and the ability to drive a much wider range of
speakers without strain. Distortion levels at high SPLs and low frequencies has been reduced by 35%.
Furthermore, the large power supply has now been isolated from the sensitive input circuitry resulting
in the elimination of electromagnetic interference.

2. Chassis - Not only is the chassis 20% larger in order to accommodate the huge new
power transformer, it has been stiffened and braced to reduce unwanted resonances. Sonically this
translates to greater purity and transparency. The Dynamo has gone from weighing 22 lbs to 30 lbs.

3. Capacitors- Every single capacitor has been doubled in voltage capacity which
provides bullet proof reliability and eliminates potential problems in areas afflicted with high AC line
voltage that is prone to surging and/ or fluctuation.

4. Tube Rectifier - The previously used instant on 5U4GB rectifier tube has been
replaced with the soft start 5AR4. This provides a safeguard against excessive inrush current upon turn
on.

The overall improvement wrought by the MK. II is highly significant. From virtually eliminating
noise so that the Dynamo can successfully be used with ultra high sensitivity speakers and
increasing its power capabilities so that it can mate with a wider range of lower
sensitivity speakers to unshakeable reliability in any environment to stunning
performance enhancements that include deeper, punchier bass, greater transparency
and purity overall, more expansive soundstage and greater extension and air in the treble
all combine to create an amplifier that while is hard to surpass at $5000, is unmatched at its
value laden price of only $1499 US. While the original Dynamo 34SE at $1299 US was
considered the finest value in all of high end audio, all the huge and costly improvements
incorporated in the MK. II with only a $200 increase in price, make the MK. II even more of an
audiophile bargain.

'Anything you can do I can do better; I can do anything better than you' wrote Irving
Berlin for the 1946 Broadway show Annie Get Your Gun. This is the implicit message of audio designers
who launch a 'mark 2' version less than two years after the initial offering, sometimes to the chagrin
of the purchasers of the original. When Israel Blume emailed 6moons to ask if I would be interested to
follow up my September 2014 review of his $1'299 Coincident Dynamo 34SE with a
comparison to the new $1499 Dynamo MkII, I was surprised. I'd thought the original was a fabulous
amplifier punching well above its weight in just about every category. If it ain't broke, don't fix it.
Having engaged in an obsessive buying binge of ChiFi push-pull and SEP amps from 2010-2014, I thought
that the Dynamo was possibly without peer at its price. Accordingly, I'd bought the amp which since 2014
has acted as the solid anchor of my second system adding weight, warmth and drive to every small
bookshelf speaker I paired it with. If the Dynamo had more than one input and remote control, I'd be
tempted to sell more expensive gear and use it as my main amplifier with high-efficiency speakers. What
could the MkII offer which the original amplifier had not?

As it turns out, a great deal. Your additional $200 buy an extra 4.5 kilos or 10 pounds of transformer
iron, bigger and better capacitors, a shorter signal path, better grounding and several other upgrades.
This 15kg amp is to the single-ended pentode EL34 amp family what the 45kg Mastersound amps are to the
single-ended triode 845 genre. With their over-spec'd transformers bulging from their cases, these
products surprise with their ability to manhandle complex music.

With substantially larger irons, the Dynamo MkII is not simply more of the same. It's like going from the
Prologue to the Dialogue series in the Primaluna product range. They are worlds apart. Capacitance goes
up 50% for more headroom and deeper bass - not just drier and deeper bass but noticeably more
dimensional and on certain recordings, it must be said, a touch of bloat. Sonically this is the only
weakness but entirely expected of a SEP amp. Ten extra pounds of iron won't overcome the typology's
limitations. But with each passing year it seems that the gap between tube and transistor amps narrows
and the MkII is clear proof. With voltage capacity increased by 40% and a shorter signal path, there
should be more incisiveness and certainly is. Guitars pierce the air just a little bit more. The MkII
seems a bit faster, better able to keep up with techno beats, better able to track dynamic swings with
orchestral music and heavily produced rock. I was thoroughly satisfied with the way the Dynamo MkII
handled "Dark Side of the Moon". it was noticeably more propulsive than the MkI and rendered
the clock bells on "Time" with a touch more depth and body. Micro detail emerged from a
quieter background. This amp strove for a different sonic signature.

Enjoy the Music.com's Special 20/20
Award
High-End Audio Loudspeakers

Steven R. Rochlin chooses the most notable products during the past 20 years.
As Chosen By Editor & Creative Director Steven R. Rochlin

Coincident Speaker

Technology Total Victory IV

Longstanding Canadian manufacturer Coincident Speaker Technology produces critically-acclaimed amplifiers
and loudspeakers. Rick Becker reviewed their Super Victory loudspeaker and felt that following up with
their upper line Total Victory IV ($14,999 per pair) would be a simple task. What he was not prepared
for was... "The step from the Super Victory to the Total Victory will be necessary if your room is about
6000 cubic feet or larger" says Rick. "I expect when putting a TV IV in a smaller room the extra $5500
will buy you mostly the qualitative improvements (versus the smaller model)... It is not that the three
models sound dramatically different from one another in tonal balance. But as you move up the line the
audible quality improves and they can play in larger rooms. The common denominators: slightly warm,
non-fatiguing, very revealing, transparent, dynamic, totally enjoyable." You can read Rick Becker's review
of the Coincident Speaker Technology Total Victory IV speaker here.

Steven R. Rochlin chooses the most notable products during the past 20 years.
As Chosen By Editor & Creative Director Steven R. Rochlin

Coincident Statement Line Stage

While any award list has the obvious components you've read about time and
again, yet what about those secret sleepers? Lovers of vacuum tubes might not have used the truly
beautiful 101D. Not sure why as it proves its merits within the Coincident Statement Line Stage ($5000).
The two large 101D tubes are about the size and shape of a standard incandescent light bulb and give off
a gentle glow. This two-chassis design includes a 40 pound separate power supply to mate with the 30
pound linestage. There are two unbalanced RCA inputs and balanced XLR, with outputs being both RCA and
XLR. We're not quite sure how Coincident gives you so much for $500, yet we're surely not complaining
either. "When I first heard the Statement Line Stage I knew it was a very special piece," says
reviewer Rick Becker, "But it took some playing and tweaking to learn how good it really is. You
can't build a world class system with a plug 'n' play mentality. As a replacement for a full function
preamp it will force you to re-think your front end, yet it also offers flexibility for bi-amplifying as
well as a balanced source and balanced amplifier. The seldom seen (but not outrageously priced) 101D
tube is the crown jewel of this design and it will give you a high degree of exclusivity in audiophile
circles. Sonically, the Statement is a thoroughbred with Triple Crown potential, a serious assault on
the State of the Art at a price that should recalibrate "value" in the high-end. It may very
well be the finest piece ever to have come from the mind of Israel Blume. I expect it will remain my
reference for many years to come." Read Rick Becker's
review of the Coincident Statement Line Stage here.

2015 TAS Editors' Choice Awards

Dynamo 34SE

Editors ChoiceThe Absolute Sound

Dynamo 34 SE -The Dynamo offers an alternative to the traditional 300B based single - ended - triode
amplifier, using , as it does, a triode - connected EL 34 pentode. Driving a high - sensitivity , high
impedance loudspeaker, it is capable of an explosive first watt. Superlative soundstage transparency
combined with 3-D image outlines produce a strong sensation of being there. DO, 250.

M300B Frankenstein MK II

Editors ChoiceThe Absolute Sound

Frankenstein M300B MK. II - One of the best - sounding 300B SET amps, DO has auditioned. Israel Blume's
Frankenstein IIs deliver on the promise of SETs: a midrange to die for, wonderful tonal color
saturation, and spectacular imaging. In short, a sensational first watt! Its combination of
affordability and performance makes for a screaming buy recommendation with the right speakers. DO,
228.

2014 TAS Editors' Choice Awards

Partial Eclipse II

Editors ChoiceThe Absolute Sound

Pure Reference
Extreme

Editors ChoiceThe Absolute Sound

Frankenstein II

Editors ChoiceThe Absolute Sound

Super Victory

Editors ChoiceThe Absolute Sound

The Absolute Sound - Issue 256

Back Page

Israel Blume, President,

Coincident Speaker Technology

Neil Gader

What ignited your passion for the high end? Did it come from the music side or the electronics
side?

My passion was ignited when, during my first year at university in 1972, I started working at an audio
store. I came across an amp and a preamp and had no clue why two components were necessary when a
receiver performed the same task. I listened to the separates playing Bad Company, an LP I had heard
numerous times. But never like this. That was it. My passion for audio was transformed to a virtual
obsession. That experience changed my life forever. It has always been about the music. The hardware
became its harbinger to deliver the musical message more convincingly and at a much higher level. I
quickly became fascinated by the components and knew my future would be inextricably interconnected to
the creation of components that would be responsible for enhancing the musical experience

From 1972–76, I continued to work part-time and summers at that audio store, gradually being
responsible for transforming it from a purveyor of mid-fi gear to high end. We started selling Acoustat
X speakers, Luxman separates, etc. Afterwards I began importing high-end gear into Canada and began to
build and modify components on a special order basis. I started Coincident Speaker Technology in 1993
for the sole purpose of creating the finest loudspeakers in the world, which eventually blossomed into
the creation of the entire audio chain except for a source component.

What education did you receive?

Undergraduate and Master’s degrees in science and a Doctor of Laws degree. How do you find the time
to design electronics, loudspeakers, and cables? Music and the creation of audio components are my
obsession. It literally is a sevendays- per-week preoccupation fueled by the insatiable desire to create
the most musically satisfying audio system possible. Being meticulously organized and efficient has
proved to be invaluable.

How do you define the difference between hi-fi and high-end audio?

My definition of a high-end audio system is one that has the capability of making the listener forget the
hardware and become totally and completely immersed in the musical experience. Hi-fi involves those who
use music to listen to and evaluate their systems. The music must always be the end, not the means to
the end.

Analog or digital—what is your preference and why? Do you still enjoy LPs?

No doubt, it is analog. Digital has come a long way and has reached the point where the enjoyment of
music is achievable. I listen to the best digital and my reaction is positive until I put a great LP on
my reference turntable. Digital as well as solid-state electronics share the same deficiency when it
comes to replicating the live musical event in a home. Namely, the inability to render harmonics
accurately and to capture low-level detail. Both media do very well in transmitting musical fundamentals
but when the proportion of fundamentals to harmonics is skewed, the end result is music reproduction
that never sounds real. The finest analog and tube technologies both possess this quality. Even
non-audiophiles can clearly hear the greater sense of realism presented by the LP.

Are you surprised at the resiliency of high-end two-channel?

It does not surprise me, since for those who love music, a two-channel audio system will simply pull one
into the magic that is music.

How will high-end systems change in the next ten years or so?

Analog and high-performance two-channel music systems will continue to exist albeit in declining numbers.
The future will see the overwhelming majority either not have any form of audio system at all or
gravitate to more convenient, very simple forms of audio reproduction.

What are the greatest challenges confronting the high end?

The new generations are weaned on multitasking and sensory overload. High-end audio depends on those who
derive tremendous satisfaction and joy through focusing on listening to music devoid of distraction. The
new generation does not appear to embrace this most rewarding of human experiences.

Outside of audio, what do you do for fun?

I am a car nut and love driving high-performance sport cars and caring for them. Working out every day is
also a life’s mission from which I do not deviate.

What still inspires you about your work?

The love of music and creating components that enhance the musical experience not only for me but also
for all other music lovers. Nothing gratifies me more than a Coincident buyer who tells me that my gear
has enhanced his life.

Click on the image to view print version.

Coincident Speaker Technology
Statement Series Cable
White Paper

CST Advanced Technology- The Latest Breakthrough

To celebrate Coincident Speaker Technology 20th Anniversary, we are thrilled to announce the Statement
Series  A breakthrough in cable technology and performance. The Statement Series' superiority is not
predicated on a single novel technique or approach but rather that the design for the Statement Series
(and the CST Extreme) is based upon genuinely advanced technology, applied in a "total system" approach,
to each specific cable application, always in accordance with CST's basic controlling philosophy that
the cable should pass the signal exactly as it receives it, with no addition, subtraction, or
perversion.

One example of CST's advanced technology is found in its proprietary "WaveLink" winding geometry.
Although many other cable manufacturers recognize the effects of ambient electromagnetic fields, and
some (but many do not) are cognizant of electromagnetic fields self-generated by internal current flow,
Coincident is still one of the few cable manufacturers in the world to recognize and design for the fact
that all cables in operation generate both electromagnetic and electrostatic fields within and
surrounding them.

These internally generated fields (the intensity of the electromagnetic field controlled by current flow,
and that of the electrostatic field controlled by voltage) both  individually and by their interaction
 affect the signal passing through the cable, and therefore profoundly impact the sound of the entire
system.

Signals passed in each cable application all have different relative amounts of current flow (amperage)
and voltage1, but there is only one optimum relationship for the two fields that result from
them. Therefore, every CST cable, in every series from Extreme all the way up to the STATEMENT Series,
is specifically designed to produce that one optimum relationship in its own application. CST cables
are wound uniquely and look different from each so that all will have the same optimum field
relationship, whatever their application. This is CST's exclusive "WaveLink" technology, and it's one
of many of the reasons CST cables sound closer to the original signal than its competitors.

The STATEMENT Series' incredible detail, focus and ambience retrieval lies in another example of CST's
advanced technology: Functionally, cables (of any brand, even CST) have many of the characteristics of
capacitors: They store energy in their dielectric (on a cable, that means the insulation) and they
release it out of phase, directly into the signal path every time the carried signal changes polarity.
This out-of-phase energy results in cancellation of the signal information at very low levels (like the
fifth bounce of the music off the walls of the concert hall), and works to reduce detail, blur imaging,
and even result in "phantom" signal artifacts ("noise" signals that aren't a part of the recording being
played) to further compromise listening enjoyment. Coincident is one the few cable manufacturers to
recognize and successfully address this important issue.

Cable Design and Construction  What is Important?  Everything !

Coincident's "total system" approach to cable design is exactly what the term implies: Every aspect of
every parameter of each CST design is taken into consideration and optimized, before the design is
finalized and put into production. This painstaking process takes years and literally thousands of hours
of R & D and aural evaluation.

Many cable manufacturers believe that there can be one "magic" solution that will always result in
"perfect" cables. This simplistic approach will yield a highly compromised product. While many view
cables as bits of wire and plastic, cables are extremely complex in their operation, and each of its
component parts greatly affects their performance: The geometry and material used for the conductors
(usually either copper or silver in most audio cables) has a clear and obvious effect on the sound of
your system. Equally relevant is the thickness (the AWG gauge) of the conductors, their purity, how
they were made, and whether they are solid-core or stranded. Dielectric and capacitive discharge
effects mean that the choice of insulating material for the primary wires, it's dielectric constant, its
"dielectric absorption" or "dissipation factor", its "dump rate", and how thickly it's applied and its
air to solid ratio are all crucial in accurately passing the signal the cable is fed. Furthermore, the
type and thickness of each of the overall conductor jackets, the filler materials, if any, and the final
overjacket on the finished cable all combine to greatly impact on the veracity of the resultant signal.
Whether or not the cable is shielded is highly significant as well, because shielding  even shielding
done the way CST does it  can affect sound quality and overall system performance. And so can the spacing
of the shield, if any, over the cable and the spacing of the conductors within it: The distance between
them determines the capacitance and inductance of any pair of conductors, and those factors, plus the
resistance of the conductors themselves, are the sole determinants of the cable's characteristic
impedance. The ultimate importance of absolutely everything in cable design is perhaps best
illustrated by the circularity of its center core. If it is not perfectly round it will significantly
affect how closely a coaxial cable will conform to its designed impedance specifications.

In designing its cables, Coincident takes every factor into consideration. Falter or neglect any design
or construction parameter and the cable will be severely degraded. It is for these reasons that the
STATEMENT Series is uniquely superior to virtually all other cables at any price, let alone at its
unheard of selling price. Unlike other products that involve compromises that must be made to comply
with budgetary considerations, the vagaries of the market, or the realities of manufacturing, the
STATEMENT SERIES is designed and manufactured with none of the aforementioned restraints.

The STATEMENT Series is different. Absolutely uncompromised in any way, and representing the fullest
development of the thoughts and skills of designer Israel Blume, the STATEMENT is, even as compared to
CST's justly popular Extreme, a huge step forward. The goal of the STATEMENT SERIES is to produce a line
of cables that pass the musical signal with as little coloration as possible and to replicate the
accuracy of a direct bypass- in other words, to sound like no cable at all.

The STATEMENT Series Product Line

The STATEMENT Series consists of only six products:ST-1, The Single-Ended Interconnect, ST-2, The
Balanced Interconnect, ST-4, The Digital Interconnect, (available either balanced or
single-ended), ST-5, The Speaker Cable, (along with its companion product the
ST-5/JS Jumper Set) andST-10, The Power Cable.

Materials and Construction

STATEMENT Series Interconnects

All CST STATEMENT Series interconnects and digital cables are made from custom-drawn and specially
treated PC-OCC (Pure Copper, Ohno Continuous Cast copper, which is so pure that it actually exceeds the
test capabilities of any commercial laboratory. The conductors of this extremely expensive material are
individually insulated with thin films of a special PTFE-related fluoropolymer material and then arrayed
in CST's own proprietary "WaveLink" geometry between an air- and nitrogen-bearing concentric two element
fluoropolymer central core and a single element air-bearing fluoropolymer outer core. The insulation and
core structure thus formed has a lower effective dielectric constant than any other kind or combination
of commercially available materials. Where necessary for balanced or AES/EBU operation, a special
grounding network is incorporated within the central core.

All connectors used on STATEMENT Series interconnects and digital cables are made to CST's own high
standards. Every connector is non-magnetic, to avoid hysteresis effects, and each is designed for
minimum self-inductance. Every part in the signal path of every STATEMENT Series connector is precision
manufactured from either ultra-pure copper or from an ASTM-designated copper alloy selected to be best
for its particular application. Where gold plating is used, it is applied directly, with no nickel
substrate, just thickly enough to prevent connector tarnishing, without affecting sound quality. To
ensure minimum self-inductance, steps are taken on every STATEMENT Series connector to remove all
conductive materials not absolutely necessary to signal transmission from the signal path.

Speaker Cables

CST STATEMENT Series speaker cables are made from the same specially treated ultra-pure (exceeding U.S.
commercial lab test capabilities) "PC-OCC" copper as is used for STATEMENT Series interconnects and
digital cables. Multiple small-diameter conductors (23 AWG) of this material are individually insulated
with thin films (0.076 mm or less) of a special PTFE-variant fluoropolymer material and implemented in
accordance with Coincident"s special "WaveLink" geometry, over air-bearing composite multi-element
concentric PTFE-variant core structures to make the cable's four individual conductor "legs". Each of
these four legs is then wrapped and extruded with a twin-element PTFE-variant fluoropolymer jacket and
the four legs are cabled, either around an air-bearing central core member or a special into a
minimum-inductance "quad", and finally given a braided protective mesh outer jacket.

STATEMENT Series speaker cables are eight conductors of 16 gauge (AWG) in their normal "shotgun"
configuration (2 legs per conductor) or four conductors of 12 AWG when terminated in the optional
"bi-wire" mode. Protruding through these caps at either end are the actual hook-up ends of the cable.
These are sheathed in multi-element air-dielectric tubes. The actual termination is, in every case, an
individually billet-machined cryogenically-treated 24K direct gold-plated copper spade lug (of either
6.0 or 8.5 mm terminal size). Premium Deltron brand bananas are also available.

Specific Product Descriptions

ST-1 Single-Ended Interconnect - Much larger in diameter than would normally be expected
from Coincident, this STATEMENT Series cable features unique jacketing braided from dense wear-resistant
polyester. This results in truly remarkable dielectric characteristics and an understated, elegant
"stealth-like" appearance and texture reminiscent of carbon fiber. Fully symmetrical windings and
special geometry make this shielded single-ended cable unusually resistant to EMI and RFI.

Price: $595 US/ 1M pr.
$175 US each additional .5 meter pr.

ST-2 Balanced Interconnect - Similar in construction and jacketing to the Single-Ended
Interconnect, this 3-conductor, "true balanced" shielded cable relies upon the Common Mode Rejection
inherent to balanced ("differential mode") operation to provide outstanding sonics. Special STATEMENT
Series XLR connectors are custom machined and precision die-cast, with pins (male) and pin receptacles
(female) of billet-cut Tellurium copper or patented Brush-Wellman Alloy 174 beryllium copper as
standard.

Price: $695 US/ 1M pr.
$195 US each additional .5 meter pr.

ST-4 Digital Interconnect - Designed for instantaneous rise-time, broad bandwidth, and
the lowest available cable-induced jitter of any product currently available, this STATEMENT Series
cable has been adopted as an absolute reference standard by manufacturers of some of the most
technically advanced digital equipment in the world and is the cable of choice for many of the world's
most critical and demanding audio reviewers. ST-4 cables are available either unbalanced, with RCA or
BNC connectors, or in balanced configuration with XLR connectors, for AES/EBU applications.

Price: $495 US/ 1M

ST-5 Speaker Cable - Six AWG multi-core construction ready for either "shotgun" or
"internal bi-wire" application; billet-cut direct gold-plated cryogenically-treated copper fittings,
make this the speaker cable of choice for systems that really do strive to duplicate the reality of the
musical experience.

Price: $1995 US/ 6 ft pr.
$ 295 US each additional ft pr.

ST-5/JS- (Jumpers)  Are an alternative to using biwire speaker cable. The jumpers are
made from the same conductors and dielectric materials as the ST-5 speaker cables and exactly replicate
their performance.

Price: $795 US/ 8" set of 4.

ST-10 AC Power Cable (Previously Called the Extreme II) -This is the
ultimate premium version of the spectacular new power cord that's getting rave reviews from audiophiles
and reviewers everywhere. Sharing an entirely new approach to power transmission technology with CST's
Extreme AC cable, it's an 10+ equivalent gauge (AWG), multi-conductor, PEX dielectric masterpiece that
will clearly and obviously outperform almost any other AC power cable several times its price. Amazing
high frequency detail, sweetness and extension, coupled with greater image width, depth and focus, plus
utterly astounding bass "weight", power and "slam" make this new power cable a required addition to any
High-End system seriously intended to challenge the state of the art. Due to unique geometry and special
double shielding, AC noise levels and RFI are dramatically reduced. Furthermore, the absence of any
current limiting makes this cable especially excellent mated to high power amplifiers. ST-10 AC power
cables are jacketed in special densely - woven braid. Each power cable is fitted with premium
Hospital-Grade U.S.-style NEMA 3-prong plugs and 15A IEC connectors. European-style Schuko or 20 Amp
connectors are also available at nominal additional cost.

1 The signal passed by phono cables is tiny fractions (thousandths or fractional thousandths)
of an Ampere of current at equally tiny fractions of a Volt. The signal carried by an unbalanced
interconnect in a high impedance circuit is just millionths of an Amp at as much as 10 Volts; that of a
balanced interconnect or digital cable in a matched-impedance circuit is milliamps (thousandths of an
Amp) at, again, as much as 10 Volts; and that of a speaker cable may be as much as 50 or 60 Amps of
current at as little (typically) as just a few thousandths of a Volt.

Coincident Speaker Technology
A very special Canadian high-end audio company!

For many years Enjoy the Music.com has been reviewing gear from
Coincident Speaker Technology. The company was founded and is operated by Israel Blume in 1993 for the
sole purpose of creating a superior loudspeaker. Being dissatisfied with every loudspeaker he had ever
owned or listened to, Israel Blume decided to manufacturer speakers for those seeking high-end
performance. Blume put his over twenty five years of audio and music experience to work to conceptualize
a loudspeaker that would reproduce music with no obvious or distracting perversions. He understood quite
well the inherent limitations of various designs and thus began designing a new loudspeaker combining
the best sonic attributes of cones and electrostatics. A daunting task to say the least! The first
loudspeaker designed by Blume was the Concentric Monitor and its companion subwoofer, the Super Bass
Monitor.

What made this speaker unique was its cylindrical enclosure. Unlike conventional cabinets, the Monitor
was constructed out of computer cut MDF concentric rings. The advantages of this design was that its
structural strength was typically 15 times greater than a prism shaped enclosure and furthermore
rigidity was equal at all points. The fact that the enclosure was round also meant that internal
standing waves were dramatically reduced. The Monitor also used the finest tweeter and woofer and in
keeping with Israel Blume's philosophy, the crossover was very pure and simple using only the finest
tested components. While his first creation received acclaim from reviewers, there were three factors
Israel Blume felt he had to address before he could find acceptance in the marketplace with his dream
speaker. Firstly, it had to more accessible aesthetically (which many felt the cylindrical enclosure was
not), secondly it had to be less expensive to build (the Monitor was exceptionally labor intensive) and
finally the speaker had to able to be driven by single ended tube amplifiers (which the Monitor could
not).

Coincident Reference Room

The result of two years of design work culminated in the development of the Troubador speaker. Using
extensive computer modeling, Blume was able to duplicate the sonic properties of a cylindrical enclosure
but with the use of non-paralleled flat plane walls. The most significant advantage of this type of
enclosure is the elimination of internal standing. In a further attempt to eliminate the sonic
contamination of loudspeaker enclosures, Blume uses enclosure tuning techniques. Instead of using
resonant enclosure materials and then attempt futilely to damp them out, all Coincident enclosures are
constructed from inherently non resonant materials that need no damping. The enclosures are then tuned
to a high fundamental resonant frequency that is sonically undetectable.

The culmination of this arduous, painstaking journey has yielded a series of loudspeakers that offer
unprecedented performance in each price category. From the Triumph Extreme to the Pure Reference
Extreme, Coincident speakers sound better and are better constructed than competing designs at the same
price.

Designer Israel Blume has recently realized his goal of building a true reference speaker that
encompasses the entire criterion he initially enumerated. That speaker is named the Pure Reference
Extreme. This speaker is the most musically authentic loudspeaker from the company and is capable of
reproducing the musical signal fed with very high accuracy. Naturally this lead to more development work
as amplification driving his speakers was also very critical for accurate music reproduction.

Electronics

Coincident began designing and building amplifiers in 2001
with the introduction of the MP 300B SET mono blocks and the MIP 300B integrated version of the MP 300B.
Both were highly acclaimed and offered build quality and performance unmatched by any other. An intense
R & D program and countless hours of aural evaluation lead to the company's breakthrough M300B
Frankenstein amplifiers in 2005. The design goal of the Frankensteins was to manufacture the finest
amplifier in the world which meant it had to be a single ended 300B design. The fact that most
commercially available loudspeakers were not able to be driven by the purest, low powered amplifiers was
of no concern since all Coincident models were ideally suited to this mode of amplification and some
other well designed speakers were as well. The Frankensteins were designed and manufactured with no cost
restraints. The goal was simple -- it had to be the purest, most transparent, neutral amplifying device
in existence. While the goal was simple, the realization of it was not. It took Blume over three years
of intense research and development, numerous prototypes and literally thousands of hours of auditioning
before the dream was achieved. The M300B Frankenstein amplifiers may sell for a relatively modest price
but there is no competing amplifier that is better constructed or compares sonically at any price.

Enter The Dragons

While Blume freely acknowledge that the Frankenstein amplification offered the company's purest sonic
reproduction available, Coincident felt there was a need for a high power amplifier that was capable of
driving any speaker no matter how difficult a load. However, not only must this amplifier be so capable
it had to come as close to the sonic purity of our reference Frankensteins as possible. The result is
the Dragons. They are constructed exactly as the Frankensteins using the same components, circuit
philosophy and state-of-the-art construction but instead of being single ended triode it uses a pair of
high powered 211 DHT tubes operating in push-pull mode. To approach the sound of the Frankensteins yet
offer "unlimited drive ability", the Dragons had to use DHT output tubes in push-pull. The
driver tube had to be DHT as well and none better than the 300B. The end result is claimed to be an
amplifier that sounds like a 500 watt brute yet with 95% of the Frankenstein's finesse.

Preamplifiers

While there is no shortage of line stages available, Israel Blume felt that absolute transparency of the
best passive units operating was his design goal. Because of this, Coincident recommended the avoidance
of active line stages whenever possible. Thus the company set out to overcome the deficiencies of
existing active preamplifiers because of what they felt were inherent advantages of these designs. The
Statement Line Stage involves a new way of thinking of preamplification design. Blume felt that existing
circuit topologies have proven to be inadequate whether they were solid-state or tube based. A
completely new paradigm had to be created. At the heart of this new design was the 101D directly heated
triode tube. It has been recognized as the most linear amplifying devise ever made.

To fully exploit the inherent superiority of the 101D, Blume knew it would take a state-of-the-art design
utilizing only the finest components executed to the highest standards. After years of research and
experimentation, the Statement Line Stage was born. The unit, outside of the tubes, is all transformer
coupled, from the input, volume control and right through to the output. There are no capacitors in the
signal path and the power supply is huge (41 lbs). The end result is a line stage that is almost
noiseless, not prone to hum and passes the musical signal with virtually no perversion. For the company
it represented a sonic breakthrough since it combined the best qualities of passive designs with the
inherent advantages of an active preamplifier.

The Coincident Sound

Mr. Blume is often asked, "What do Coincident Speakers sound like?" Their answer, "We try
our hardest to make them sound like nothing. The theoretically perfect audio component would sound like
nothing. It would simply transmit the signal it is being fed with no alteration, enhancement,
subtraction or distortion. Our goal with all Coincident models is for them to pass as much musical
information with the least possible coloration. Coincident speakers do not editorialize or attempt to
glamorize the sound.

For example, there is no intentional boosting of the midbass to provide the illusion of more bass, nor
the rolling off of the high frequencies to make the resultant sonics more pleasing. Coincident Speakers
are designed to be as musically accurate as possible. We attempt to create an open window on the musical
event, with nothing interfering between the music and the listener. Consequently, Coincident Speakers
are very revealing of the musical source, the room in which they are placed and the ancillary components
used. It must be emphasized that high resolution does not connote low musicality. On the contrary, the
better a component is at revealing the information it is sent, the more accurate and by definition, the
more natural it will be since it will closer approximate the live music listening experience."
Coincident Speaker Technology is proud to still state that unlike the majority of current speaker
companies (i.e. Revel, Aerial, Von Schweikert, Red Rose etc.) all its speaker models are designed and
completely manufactured in Canada.

More Details About Coincident Speaker Technology

All the crossovers are meticulously hand soldered in Canada, matched to within 1% tolerances
using the finest Canadian and American components. Coincident does not use poor quality
overseas-sourced crossovers that are pre-built and cost a couple of dollars. The price of one capacitor
used in a Coincident speaker crossover exceeds the cost of these entire crossovers that are finding
their way into very expensive competing speakers.

All internal wiring is manufactured in Canada using American 6N copper. Only the finest
Canadian dielectrics like polypropylene and air Teflon are used. Coincident Speaker Technology's wire is
very expensive to manufacture and labor intensive to terminate. There is no use of off shore cables that
Blume feels are sonically inferior and costs only a few pennies.

All Coincident speaker enclosures are meticulously CNC and hand crafted at their facilities in
Canada. Only the highest quality Canadian made hardwood MDF is used, all wrapped with furniture
grade cherry wood veneer that is carefully pressure applied on both sides of the board. Coincident chose
to build their enclosures in Canada to ensure high quality.

All the drivers of Coincident speakers are sourced from only state-of-the-art manufacturers such
as Scan-Speak, Vifa and SEAS. Coincident does not use any knock-offs cheaply manufactured drive
units that are copies of the above noted brands. Only the very best drivers sourced from the finest
manufacturers are chosen.

Coincident Speaker Technology is committed to providing the high-end audiophiles with the finest
value components in the world. Coincident, therefore, will never sacrifice quality. No detail
is considered too trivial if it enhances the sonics or build quality of their products. "Coincident
will never offer an inferior product in pursuit of greater profits" says the owner Israel Blume.

Israel Blume continues by saying "Coincident components exist for only one purpose: to provide the
discerning music lover with the finest sounding, best built products that above all else, enhances the
musical experience."

Coincident Speaker Technology • Pure Reference Extreme Loudspeakers

There's an old adage, at least in this part of the world, that it's easier to build efficiency into a
speaker than power into an amplifier, yet it's a pearl of wisdom that is all but ignored by speaker and
amplifier manufacturers alike. Of course, it comes with the considerable caveat that (where speaker
enclosures are concerned) size can't matter, but, with that literally not-so-small proviso, it's a
philosophy that has a lot going for it -- though like most such sayings it's somewhat simplistic. Even
so, let's just dwell on the subject of efficiency for a moment or two.

If we consider a hi-fi system's efficiency in terms of its ability to convert electrical power into
acoustic output, then the results are pretty lamentable. Even horn systems with three-figure sensitivity
score pretty poorly in this regard, so imagine what happens when you start building a speaker system
with diminutive internal dimensions and still insist on extended bandwidth; not only does the
sensitivity plummet but the impedance characteristic (and thus the load seen by the amplifier) turns
something cruel. The end result is a loudspeaker that demands both considerable power and significant
load tolerance.

The Coincident Pure Reference Extreme (CPRE) may be the
most accurate and true-to-life loudspeaker on the market today. It's actually the opposite of the
MBL. It does not recreate a concert, it does not beautify recordings; and it looks relatively
ordinary. Considering all the MBL does right, the Coincident does the same things more realistically
and correctly. It is a thinking man's loudspeaker that speaks the truth whether or not you want to
hear it. When I say more realistically, I mean that literally. The imaging is the best in the
business. It's exactly what the microphone(s) picked up and it replicates what the recording
engineer intended you to hear. Let me be clear: The Coincident allows you, for the first time, to
experience that actual craft of the engineer. Countless examples of crappy, thin, or compressed
recordings are deconstructed by the Coincident and reassembled in a more realistic fashion. It's as
if other speakers smear the sound. And it's all presented, phase perfectly, in a broad array across
your room-an immersive Holodeck of sound.

The CPRE is a three-way design that functions more like a two-way with
a subwoofer. Its super-fast ceramic Accuton mid- and high-frequency drivers cover the ground from
100Hz to 27kHz. The woofers are tonally correct with perfect pitch and definition. If you are
accustomed to midbass (chesty) exaggerations, you'll have to rewire your thinking. Once you do,
you'll never go back. The crossover is simple and first-order. The sensitivity is 94dB, and the load
is tube-amplifier-friendly.

Over the years, TAS Executive Editor Jonathan Valin has “ticked”
numerous Magneplaners as the best bang-for-the-buck in high-end loudspeakers (and does again in this
GE-Ed.). I'm going to add the Coincident Pure Reference Extreme as one of the very best
performance-for-dollar products in the ultra-high-end market today. The CPRE is downright magical
with low-output triode amplifiers, but is also surprisingly realistic and vivid with big solid-state
amps. Not to mention, it's out of this world with vintage Heathkits and Fishers. The CPRE is on of
the most versatile and realistic loudspeakers available today. (Reviewed in Issue 209)

We are now excited to introduce the MK. II version of the highly acclaimed
Dragon amplifiers. The improvements include:

1. Dual power transformers in place of the previously used single unit.
The new transformers individually possess the capability of powering the amplifier. In tandem, they
are coasting only using less than 25 % of their rated capabilities. The result is a far cooler
operating amplifier, thereby improving reliability and long term
stability. Additionally, the Dragon is now virtually noiseless. It is incredibly quiet which is a
remarkable feat for an amplifier this powerful operating at such high voltages. Sonically there is
an improvement from top to bottom. The bass is tighter, deeper and punchier. The mids and highs are
more transparent and the soundstage more expansive. Due to the reduction in noise, overall
revelation of low level detail is enhanced.

2. Chassis Rigidity - To accommodate the dual transformers of the MK.
II Dragons, the chassis has been enlarged by 20%. The amplifiers are now 2" wider and 2" deeper and
1" higher. They now weigh 85 lbs, which is 20 lbs heavier than the previous model. The chassis is
now more rigid which results in the virtual elimination of chassis induced resonances. The MK. II
now utilizes 6 ceramic isolating feet to stabilize the unit.

3. The standard supplied 211 tubes will now be the exceptional Shuguang Pevane.
They represent a marked sonic improvement over the previously supplied standard Shuguang. The Pevane
is also more durable and reliable and runs 15% cooler.

The MK. II Dragon is now the finest sounding, high power amplifier in existence. Its
purity is within a hair's breath of the finest SET 300B amplifiers (the Frankensteins) yet its
power delivery is awe inspiring. It also runs cooler and is exceptionally quiet.

The purity, transparency and continuousness of a DHT SET but with the power, explosive
dynamics, weight and impact of a huge push pull pentode amplifier - sounds mutually exclusive, not
any longer. The 211PP Dragon mono amplifiers are such a creation. These amplifiers are absolute
state of the art in terms of components selected, circuit design and execution and construction
quality. This is unique among high power, push pull DHT triode amplifiers. There has never been a
high power, DHT amplifier built to this standard with sonic performance at this level. The Dragons
are capable of driving even the most difficult speaker loads.

Features include:

The finest 6N copper interstage, output and dual power transformers

No coupling caps in the signal path

Tube compliment- 6EM7 super tube for input- So much current capability it has its own power
supply

300B Driver Tube for utmost purity ( no pentode tubes used in this DHT design)

Price:$10999 US /pr. includes freight.
$ 9999 US/pr. when purchased with any Coincident speaker.

Coincident's Reference System:

Featuring Double Pure Reference Extremes

"This system points out some significant flaws in my own. I would like to adopt it as
My Reference in Absentia. Listening to my familiar music on CDs and your LPs had a
profound impact I will be processing the experience for quite some time, I expect.

Quite simply- it was incredible.
Thank you, Israel."

Rick Becker- enjoythemusic.com

NOW ADDED TO CLASS A MOVING COIL STEP-UP DEVICES

COINCIDENT STATEMENT M/C TRANSFORMER -
by www.high-endaudio.com

The Coincident Statement is now the finest MC step-up I've ever heard, of any type. The discovery of
a new reference component is always a cause for a "celebration", though, in this case, it
will have to be tempered. This is because the Coincident's degree of superiority over the former
reference, the Bent Audio Silver, is quite subtle. In fact, to even initially hear the differences
took numerous A/B/A/B comparisons (after basic A/B comparisons failed for me).

The "Extreme" is simply the "Original" Pure Reference, with the exact
same drivers and crossovers, but in two separate cabinets (a
mini-monitor and a subwoofer), instead of one large floorstander. With the monitor sitting directly
on top of the subwoofer (at the front), the Extreme is around 12" shorter,
though its subwoofer takes up around 50% more floor space, because it is 4"
wider. The price for the Extreme is $ 26,000, compared to $
22,000 for the Original.

Passive Preamp- In essence is merely a volume control designed to
attenuate the signal going from the source (usually a CD player) to the amplifier. Since it is
passive, it has no inherent gain because it has no active components (tubes or transistors) in the
signal path.

The quality (sonic purity) will be largely dependant on the volume potentiometer used. The finest
discrete resistor pots will sound more accurate than a variable one, for example, since the signal
travels through only one resistor at any given setting and is therefore not dependant on volume
position as is the case with a variable pot. Many believe that transformer volume controls can be
superior to even the best discrete resistor pots, since the TVC is inherently passive while the
latter still requires the audio signal to traverse a resistor. The TVC is more costly to properly
implement since the best transformers are very expensive.

Type, length and quality of the internal wire will also affect the sound as will the connectors being
used. The inclusion of a selector switch will compromise the ultimate transparency of the sound to a
greater or lesser degree compared to a passive eschewing this switch.

Active Preamp- Not only controls the volume of the source component but
since it uses active devices (tubes or transistors) in the signal path it has gain. The active
preamp inherently has many components in the signal path compared to a passive. It uses all the
components of the passive with the addition of a power supply, capacitors, resistors, gain devices,
and means by which all these parts are connected.

Logic would seem to dictate that the active preamp must adulterate the signal to a far greater degree
than the passive by virtue of all those additional components.Further, since the active has the
additional disadvantage of requiring a power source, tubes or transistors it must not only impose
far greater noise, it is also more costly and inconvenient to use. Why would anyone want to use the
active in a system? Theoretically, it would seem nonsensical to use anything but a passive
preamp.

The Imposition of the Real World –

Passive Preamp - While it is inherently simpler in design with no active
components in the signal path, it is highly susceptible to component interaction. The affects of the
IC cable (impedance, capacitance and resistance), the source resistance which is the combination of
the potentiometer and the actual source and the input impedance of the amplifier are all critically
important in potentially altering the audio signal from source to the ultimate sound being heard.

The length of the cables between the source and passive and then to the amplifier must be strictly
attended to. Too long a cable and roll offs at both frequency extremes will occur. Impedances
between the volume control and the imput impedance of the amplifier must be compatible in order to
avoid sonic degradation. Furthermore, since a passive has no gain, the output voltage of the source
component must be sufficient and the amplifier and the speakers need to be of high sensitivity or
not enough ultimate volume can be achieved.

The purest, simplest but admittedly most inconvenient method of passive attenuation is to have
discrete resistor pots installed at the amplifier input. This method avoids the extra cable
interaction and achieves the desired amplifier input impedance.

To summarize, in order for a passive preamp to work properly the following conditions
must be met:

1. Source component must have sufficient ouput voltages;
2. Short, low capacitance cables must be used between the source to the passive and from passive
to the amplifier;
3. Output impedance of the passive's volume pot should be low (less than 25k) while the input
impedance of the amplifier should be sigificantly higher (100k);
4. Amplifier's input sensitivity should be high (minimum of .75v for full output).
5. Speakers should be high sensitivity (minimum of 90db).

If even one of the above conditions is not adhered to, passives will offer highly compromised sonics.
However, when all of the above conditions are met, there are very few active preamps on the market
that will yield better sound overall. For an active to provide superior sound, will require an
amazing unit designed and executed to the highest level. (translation- it will not be cheap- but do
not confuse excessive price with high performance- however high performance will be expensive).

Active Preamps - Due to the use of a myriad of components in the signal
path, most active preamps severely color the sound. The signal entering them rarely resembles the
sound exiting them. Theoretically, an active preamp should emulate a straight wire with gain. It
should be as pure and transparent as the finest passives in an optimized system yet offer the
benefits of gain and nonsusceptibility to component or cable interaction. This task would seem
impossible to fully achieve and arguably no active preamp currently available has been completely
successful in its accomplishment. The realistic goal of an active preamp is to provide sound with
all the advantages inherent in the design with drawbacks that are so minor as to wither into
insignificance when viewed in its totality. Achieving this objective requires the following:

1. The finest passive and active components available connected with the shortest signal paths
possible;
2. A power supply that is impervious to voltage fluctuation or current demands;
3. The finest form of signal attenuation;
4. The purest gain devices;
5. Low output impedance;
6. A highly rigid chassis that is not prone to resonances.

The inherent practical advantages of an active over a passive is that due to output
buffering, interaction between the source, connecting cables and amplifier input impedance ceases to
be an issue. Further, due to added gain, much greater flexibility in system assembly is possible.

The other huge advantage presented by an active line stage is that it amplifies the source signal to
a higher level, unlike a passive design which has no gain, so that the power amplifier is able to
more accurately pass this signal to the speakers. This is similar to what occurs when inserting a
moving coil transformer or head amp into a low gain phono stage. The low level cartridge signal
becomes amplified so that the phono preamp can transmit this incoming signal more accurately to the
amplifier. While the system now has an extra component in the signal path which would intuitively
create the impression that purity would be compromised, the opposite results- greater fidelity is
achieved. Not only is the sound more dynamic, harmonically more complete with superior rendering of
the frequency extremes, there is a noticeable enhancement in detail retrieval.

Coincident has up to the advent of our Statement Line Stage recommended the use of the best
passives when all the system conditions were optimized. The sonic compromise inherent with all
previously auditioned active units in terms of imposed colorations were too obtrusive to ignore,
despite their other advantages.

Coincident Statement Line Stage -

All the requirements mentioned above to create the superior active preamp have
been met. The end result is an active line stage that is virtually as pure and transparent as not
only the best passives but as accurate as going directly from the source component to the amplifier
using the finest 1m interconnect. The sonic leap in dynamics, weight, impact and punch as well as
full extension at both frequency extremes is dramatic.
The enhancement of musical enjoyment wrought by the insertion of the Coincident Statement Line Stage
into an audio system is of enormous proportion. As reviewers and owners of the unit have confirmed,
the superiority of the Coincident over passives and existing active preamps is not subtle. A short
audition is all that is required to hear this level of advancement.

300B Tubes For Frankenstein Amplifiers

As of April 15/ 2012, Frankenstein and Dragon amplifiers will be supplied with Shuguang Psvane clear
bottle 300B tubes as standard.

The finest 300B available is the Shuguang Treasure Black Bottle. Not only are the
sonics the best we have heard, we have not experienced a single failure in the field. We have not
heard a superior sounding tube, nor one that is more reliable. Coincident supplies matched and
tested pairs.

We are hesitant to recommend any of the mesh plate 300Bs since they tend to be prone
to microphonics due to the inherent resonant nature of their internal structure. We also have
stopped recommending KR 300Bs, despite their superb sound, due to their poor
reliability and the manufacturer's reluctance to honor their warranty.

If anyone has any questions or comments about 300B tubes in the Frankenstein amplifiers, feel free to
contact us.

Coincident Speaker Technology is proud to
still state that unlike the majority of current speaker
companies (i.e. Revel, Aerial, Von Schweikert, Red
Rose etc.) all its speaker models are designed and
completely manufactured in Canada.

All the crossovers are meticulously hand
soldered in Canada, matched to within 1% tolerances
using the finest Canadian and American components. Coincident does not use poor quality
Asian sourced
crossovers that are pre built and cost a couple of
dollars. The price of one capacitor used in a Coincident
speaker crossover exceeds the cost of these entire
crossovers that are finding there way into very expensive
competing speakers.

All internal wiring is manufactured in Canada
using American 6N copper. Only the finest
Canadian dielectrics like polypropylene and air Teflon
are used. Our wire sounds the best and is very expensive
to manufacture and labor intensive to terminate. Other
high end speaker companies use off shore cable that
is sonically inferior and costs pennies.

All Coincident speaker enclosures are meticulously
CNC and hand crafted at our facilities in Canada. Only the highest quality Canadian made
hardwood
MDF using furniture grade cherry wood veneer which
is pressure applied on both sides of the board is
utilized. Having our enclosures made in China, as
most other speaker manufacturers, would save 80%-90%
of the cost. However, we would not even think of doing
this since the quality of workmanship simply does
not compare. Inspect a Coincident enclosure with those
made in China and the difference is painfully obvious.
Coincident will never sacrifice quality for profits.

All the drivers of Coincident speakers are
sourced from only state of the art manufacturers such
as Scanspeak, Vifa and SEAS. Coincident does
not use any Chinese manufactured drive units that
are knock offs of the above noted brands. Many high
end speaker companies no longer use the expensive,
best sounding drive units made by these European companies,
instead opting to use inferior sounding and incredibly
cheap (costing as little as a couple of dollars) Chinese
units that are almost visually identical. The consumer
is fooled into believing he is buying an expensive
speaker using Scanspeak drivers when in reality the
drivers are very cheap poor quality units that only
physically resemble those drivers.

Coincident Speaker Technology is committed
to providing the high end audiophile the finest value
loudspeakers in the world. Coincident, therefore,
will NEVER sacrifice quality. No detail is considered
too trivial if it enhances the sonics or build quality
of our speakers. Coincident will never offer an inferior
product in pursuit of greater profits. Therefore,
none of our speakers will be made in China nor will
any of our models use inferior components because
they are inexpensive to purchase and will increase
our profit margins at the expense of quality. Coincident
speakers exist for only one purpose: to provide the
discerning music lover with the finest sounding, best
built loudspeakers available anywhere near their selling
price.

The Coincident Sound

We are often asked, "What do Coincident Speakers
sound like ?" Our answer, "we try our hardest
to make them sound like nothing". The theoretically
perfect audio component would sound like nothing.
It would simply transmit the signal it is being fed
with no alteration, enhancement, subtraction or distortion.
Our goal with all Coincident models is for them to
pass as much musical information with the least possible
coloration. Coincident speakers do not editorialize
or attempt to glamorize the sound. For example, there
is no intentional boosting of the midbass to provide
the illusion of more bass, nor the rolling off of
the high frequencies to make the resultant sonics
more pleasing. Coincident Speakers are designed to
be as musically accurate as possible. We attempt to
create on open window on the musical event, with nothing
interfering between the music and the listener. Consequently,
Coincident Speakers are very revealing of the musical
source, the room in which they are placed and the
ancillary components used. It must be emphasized that
high resolution DOES NOT connote low musicality. On
the contrary, the better a component is at revealing
the information it is sent, the more accurate and
by definition, the more natural it will be since it
will closer approximate the live music listening experience.

Those seeking to replicate the thrilling experience
of listening to live music will greatly appreciate
the "Coincident Sound". Our reference standard
is live music and our goal is to get as close to the
sound of real instruments playing in a real space,
as present technology will permit.

Why
Biwire?

Biwiring is when a loudspeaker has separate connections
to the bass and the treble/midrange. The idea is to
use individual speaker cables to each section. Besides
being profitable to cable manufacturers, since the
user is required to purchase double the amount of
speaker wire, are there any sonic benefits to this
arrangement?

The answer is yes and no. Yes it is a benefit for
loudspeakers that are not properly designed. In speakers
where the crossover sections are interdependant and
not adequately isolated from one another, biwiring
will likely offer a sonic benefit. However, in speakers,
(like all Coincident models), that have all the crossover
sections, (high pass, low pass etc), completely separated
and isolated from one another and are run to the binding
posts, (as opposed to being interconnected between
sections and wiring all the hots and grounds to the
speaker's binding posts), biwiring affords NO sonic
advantage and may actually involve a sonic degradation
depending upon the speaker cable used.

Coincident recommends biwiring only in those cases
where a consumer has the intention of biamping his
speakers. A biwiring option will be necessary if one
is biamping a system, meaning separate amplifiers
will be powering different drivers. Otherwise, biwiring
is not only totally unnecessary and a waste of money,
but a pain in the derriere.

Mirror
Imaged Side Firing Woofers - Advantages

Unlike the majority of other speaker companies that
place their woofers on the front of their speakers,
Coincident mounts their woofers on the side of the
enclosures in a mirror imaged configuration.This is
done because there are 3 distinct advantages with
NO downside.TOP

1. Elimination of Diffraction Effects -

Since the largest drivers,(the woofers), are mounted
on the side of the enclosure, the front baffle can
be made as narrow as the smaller midrange drivers,
thereby eliminating diffraction effects, (which are
responsible for impairing image width and creating
high frequency smearing).

2. Flexibility of Speaker Placement -

Because the side firing woofers are mirror imaged,
there are two positions to avoid room standing waves
- woofers aiming to the inside or to the outside.
In a room devoid of standing waves, (a very rare phenomenon),
there would be absolutely no sonic difference whether
the woofers were firing inside or outside, (so long
as there is sufficient distance to the side wall in
the case of outside firing). This is so because the
crossover frequency to the woofers is so low, (typically
125 hz), where the wavelengths are very long, (in
the range of 9 ft). This means that the woofers can
be placed a distance as much as 9 ft away from the
midrange units and still achieve seamless driver integration.

The Stereophile Show 2001 provides a dramatic real
world illustration of the benefits of mirror imaged
side firing woofers. The demonstration rooms were
plagued with a standing wave centered at 100 hz (
elevated in amplitude by 12db!). This was the case
when the Total Eclipse woofers were firing to the
outside and as other exhibitors experienced, when
the woofers were front facing . However, when the
woofers aimed to fire to the inside, the room standing
wave was avoided and flat frequency response to below
30 hz was achieved.

3. Simulation of Steep Crossover Slope-

Since high frequencies are directional, (low frequencies
are not), aiming the woofers to the side of the listening
position causes out of band high frequency information
to be attenuated, thereby simulating an acoustical
high pass filter. Therefore, the electrical first
order crossover (chosen for reasons of purity and
phase coherency- attenuates out of band frequencies
at a rate of 6db per octave), of Coincident speakers
act more like an acoustical third order slope (with
its advantages of steeper attenuation- 18db per octave-
of unwanted out of band high frequencies), but with
no sonic penalty since no additional electrical components
are added to the signal path.

Amplifier
Power - How Much Is Enough?

This is a question that is asked almost more frequently
than any other.As with most issues in audio,the answer
is complex and depends upon the following:

1. Speakers being used- Sensitivity and the impedance
curve being critical.

2. Personal preferences of the listener- Type of music
listened to and at what output levels.

3. Size of room - To fill a larger room will take
proportionally greater amplifier power.

Speakers-
Acoustical output is dependant upon the power of the
amplifier used and the efficiency with which the speaker
being driven can transform the electrical signal into
sound.The term "sensitivity" is a speaker
measurement that reveals how much sound (in decibels)
is produced at a specified distance, (usually 1 meter),
from the speaker when it is fed a specified input
signal, (usually 2.83 volts which is equivalent to
1 watt into 8 ohms). Therefore, a more sensitive speaker
that has a flat, benign impedance curve (of 8 ohms
or more), will produce greater acoustical output with
the same specified amplifier power than a less sensitive
speaker or an equally sensitive speaker that has a
reactive, low impedance modulus. For example, a speaker
that is 3 db more sensitive than another will require
only half the amplifier power to generate the same
sound output.

If a speaker has a sensitivity rating of 85 db @1
watt - 1 meter, to achieve an output of 88 db would
require double the amplifier power or 2 watts.91 db
output would take 4 watts. For 100 db output of sound,
would require 32 watts of power. And if this speaker
was rated at 4 ohms, a 64 watt amplifier would be
needed to produce 100 db.

By contrast, a 94 db sensitive speaker would require
only 4 watts to achieve a 100 db output level. Since
most listening in the home environment is undertaken
at 85 db or less, it can be clearly seen that only
a fraction of a single watt of amplifier power is
all that is required for the vast majority of listening.
A 100 db output, which is loud, still needs only 4
watts of power to attain. However, it must be emphasized
that while listening at an average level of 100 db,
during musical passages that are very dynamic with
lots of low bass content, many hundreds of watts may
be necessary, (albeit for only the duration of a millesecond),
to avoid amplifier clipping.

The above example clearly demonstrates how significant
the sensitivity and impedance curve of the loudspeaker
is upon determining how much amplifier power is necessary.

Personal Preferences of the Listener-

As the above example illustrated, higher listening
levels requires greater amplifier power. Therefore,
the output levels the listener chooses to listen at,
will be critical in determining the amount of power
that will be satisfying. The listener who is content
at levels of 80 db will need a fraction of a watt
while someone who likes to listen at 105 db will be
using almost 260 times more power!

Of equal importance is the type of music enjoyed.
Full orchestral music, for example, is very demanding
on amplifier power in order to reproduce the exceptionally
high levels of dynamics coupled with very low bass
content (which uses enormous amounts of power). Conversely,
chamber music, light folk etc. is usually listened
to at lower SPLs and its musical content requires
far less amplifier power to accurately reproduce.

Furthermore, some listeners prefer a punchier, gutsier
sound presentation than others whose priorities lie
more in the area of detail retrieval, imaging etc.
For some, visceral impact is mandatory or at least
may represent much more of a priority than it is to
others. These personal predilections must be factored
into the equation of how much power is sufficient.

Room Size -

All things being equal, the larger the room, the more
amplifier power required to fill it. The sensitivity
rating of a speaker is the measurement of acoustical
output at a distance of 1 meter. The further away
the listener is from the speaker, the lower the sensitivity.
Therefore, a speaker producing 94 db from 1 watt of
amplifier power at a distance of 1 meter will produce
less sound pressure when the listener is 2 meters
away. For a speaker to energize a room of 1000 cubic
feet, for example will require significantly less
amplifier power than to do the same in a 2000 cubic
foot space. As a real world example, at the recent
2001 CES, Coincident demonstrated in a hotel suite
of 1872 cubic feet using a 24 watt amplifier. To achieve
similiar sound pressure levels and bass impact in
another space of 7200 cubic feet, required 3x the
amplifier power.With the same 24 watt amplifier in
the much larger room, the sound was not as weighty,
impactful or as dynamic as it was in the aforementioned
smaller environment.

Conclusion-

With easy to drive speakers, like Coincident, many
are afforded the opportunity of using low powered
amplifiers like SETs with completely satisfying results.
For those in a compact room, who listen at moderate
levels to jazz , light rock, folk etc, then the inherent
superiority of the best SETs will be appreciated.
That is not to suggest that SETs are for everyone.They
are decidely not. If your musical tastes are focused
on big orchestral music, heavy rock, etc., and you
listen at high spls in a large listening space, then
small tube amplifiers may not be your sonic cup of
tea. It would be recommended that a more robust amplifier
be used.

Loudspeaker
Impedance And Amplifier Matching06/29/01

Solid State Amplifiers:
With transistor amplifiers ,the amp's output impedance
is never matched to the load it drives.The lower the
load impedance ,the closer it comes to a true impedance
match , because the output impedance of a solid state
amp is very low - typically a fraction of an ohm.This
helps explain why (all things being equal- and the
amplifier has sufficient current capability)4 ohm
speakers produce greater acoustical output than 8
ohm speakers.The lower impedance speaker offers less
resistance to current from the amp.The transistor
amp sees less resistance into 4 ohms , therefore its
output stage delivers more current.

Tube Amplifiers:
A tube amplifier's output stage(s) are totally different.
A true match between the load impedance and the plate
impedance ( or plate - plate impedance of a push -
pull tube output stage) is never absolutely possible.The
tube's plate impedance is typically exceptionally
high
( thousands of ohms.) Therefore ,even a tube output
transformer ( which becomes necessary to lower the
plate impedance so that a typical speaker can be driven)
with a primary impedance of 3K - 8K ohms will not
closely approach this match. Therefore, it can be
seen that the operation of tube versus solid state
outputs is reversed. In the case of transistors, impedances
cannot be matched due to the ultra low output impedance
of the amp ,while with tubes, the match cannot be
achieved because of the very high output impedances.

The output transformer in a tube amp lowers its impedance
to a level where speakers can be made to operate and
extract power from the driving amplifier. The output
transformer is designed with a given ratio between
the number of turns of wire in the primary and a nominal
secondary impedance. For example, if we connect an
8 ohm loudspeaker to an amplifier with a primary impedance
of say, 5,000 ohms and a transformer tap of 8 ohms,
the primary impedance remains at 5,000 ohms and the
amplifier delivers a given amount of electrical power.
But ,if a 4 ohm speaker is connected to this amplifier,
the output volume will diminish because the 4 ohm
load causes a reduction of the primary winding impedance.
This reduction means the amp's output transformer
presents a poorer match to the plates of the tube
output stage than it previously did.

On the other hand, if a 14 ohm loudspeaker is connected
to the same 8 ohm tap, the primary winding's impedance
is increased. The transformer represents only a ratio
of turns and its impedance is determined by the load
connected to it. Because the transformer's impedance
has increased, it comes closer to matching that of
the plate circuit. The result is greater output volume
from the speaker.

In conclusion, a tube amplifier will produce more
output ( greater voltage delivery) into higher impedance
loads. Therefore , a 14 ohm speaker will be much more
efficiently driven by a tube amplifier than will a
8 or 4 ohm speaker. This becomes of critical importance
when using OTL or single ended triode tube amplifiers
when available output power is low and amplifier output
impedance is very high.

Available Options for Coincident
Speakers

Biwire Terminals- (available on all Coincident
models) Not recommended (unless one intends to
biamp) since it involves no sonic benefit. Will be
available for those who insist.

Price: $250 US /pr.

Cables- What is Important?

I would like to address some technical points applicable
to speaker cables in general and how they apply to
the Coincident CST1 and TRS speaker cables in particular.

It is commonly mentioned that capacitance is an important
factor in speaker cable performance. This is incorrect.
A speaker cable's capacitance is in parallel across
the power amp output, not in series with the signal.
The musical signal does not go through the cable's
capacitance to go back and forth between amp and speaker.
Therefore, speaker cable capacitance has very little
deleterious consequences upon the accurate transmision
of music along the length of the cable.

On the other hand, resistance, and even more significantly,
inductance, both have very profound affects on the
musical signal.

The resistance of a cable is determined by its cross
sectional area and by the material of the conductor.
The larger the gauge, generally the lower the resistance.
Low resistance cables have a low propensity to effect
frequency response deviations with a given loudspeaker
while high resistance cables have a higher propensity to
do the same. The sonic affect of the cable will be
dependant upon the impedance characteristics of the
loudspeaker. A high, flat impedance speaker will cause
little or no frequency response deviations (even with
a high resistance cable), but with a loudspeaker that
has impedance dips, a high resistance cable will superimpose
more of a frequency response deviation.

Self inductance is determined by the physical intimacy
of the 2 conductors of opposite polarity (hot &
ground). The more intimately intertwined the conductors
,generally speaking ,the lower the inductance.Without
getting too involved,it is safe to state,that the
lower the inductance, the more extended the high frequencies.The
higher the inductance ,the more rapidily will the
high frequencies begin to roll off.

Both resistance and inductance,unlike capacitance,are
critical to accurate reproduction, because they are
in series with the amp and the speakers. The music
must pass through the cable's resistance and self
inductance.

It is precisely for the above noted reasons that the
Coincident CST1 and the Total Reference Series speaker cables ,have been designed to be low
resistance and ultra low inductance and only medium capacitance.The proof of any design ,is
the sonic results with a very wide range of available
associated components.Our experience and those of
many hundreds of Coincident cable owners would appear
to substantiate that Coincident cables sound superb
with virtually all components.

Cable capacitance may be relevant in cases where circuit
impedance is high.It is therefore not recommended to have high cable capacitance on the
output circuit of a preamp with a source impedance
of a 500 ohms or higher.The output circuit impedance
of a power amp is however,very low, usually in the
range of .1 to .5 ohms which is far too low to be
affected by the shunt capacitance of even the highest
capacitance speaker cables. The only possible exception
where high speaker cable capacitance could be audible
would be the case of a high output impedance preamp
being mated to a very high output impedance amplifier
like a Sonic Frontiers, (somewhere in the range of
6 - 10 ohms), connected to a low impedance loudspeaker.